


Class. 

Book. 


COPYRIGHT DEPOSIT 



























£ 























Jfv- ' 

CKET PEDAGOGICAL LIBRARY 3 

^ ' •' 


UPRIGHT 

VERSUS 


LOPING WRITING 


Being an Inquiry into the 
respective Merits of SIop= 
ing and Upright or Vertical 
Writing ....... 


BY 


HN JACKSON, F.E.I.S., M.C.P 



AUTHOR OF 

The System of Upright Penmanship 


f j WILLIAM BEVERLEY HARISON 
59 Fifth Avenue 
NEW YORK 







V 

Upright 

VERSUS 

Sloping Writing. 

. g 


^TT^HAT the writing of the present age needs 
reforming few will be inclined to deny; 
that the illegible and illiterate scrawls 
(yclept writing) which comprise so much of our 
correspondence are a nuisance and a daily cross 
to tens of thousands who have to wade through 
and decipher these erratic aberrations of quill¬ 
driving, every one will readily acknowledge. 

Our most sanguine friends will never dare to 
hazard the proposition that we have arrived at 
the goal of perfection in penmanship. And the 
question arises, Is this lamentable defect in our 
ordinary handwriting an incurable malady? Is 
it the result of faulty education, of subsequent 
demoralization, or of inherent and inevitable 
imperfection ? * 

That numbers of good writers at school degen- 
! erate into most slovenly and inveterate scrib¬ 
blers in after years is a well-known fact; but 
this will not account for the unduly large pro¬ 
portion of wretchedly bad writers who mulct 
their fellows in the daily penalty of reading 
their inky attenuations and wriggles; one of 
several reasons for which is, that there is a con¬ 
trary motion which is more than ample to coun¬ 
terbalance this degeneracy, viz.: the considera¬ 
ble number of bad and indifferent writers who 
on leaving school and entering business pick 
up in their caligraphy, and become not only 
fair, but actually good and elegant penmen. 
No! we must look further back, and penetrate 
inside the schoolroom for the answer to our 
question. The solution of the problem will be 
found in the workshops where the articles are 


1 




manufactured. If a similar cry were raised 
against reading, arithmetic, or other branch of 
learning, we should intuitively refer the cause 
or root of the offence back to the schoolmaster. 
Now this sad condition of things must obviously 
be traceable to Bad teaching, Defective methods, 
or a Wrong system of penmanship. 

Bad teaching may at once be put out of court. 
It is impossible that inferior teaching should 
obtain in all our schools, of whatsoever grade; 
and, besides, all subjects would be more or less 
affected, but they are not. Our field of investi¬ 
gation, therefore, narrows down to the writing, 
or system itself, and the methods adopted for 
teaching it. 

The prevailing style of penmanship that ob¬ 
tains generally, almost universally, is the Ital¬ 
ian, or sloping style. It is somewhat ornate (as 
modern taste counts ornateness), and the more 
it slopes the more it spreads or sprawls. 

As to the methods adopted for teaching it, 
they have ever been “On change,'’ never settled 
—ever fluctuating. Hardly any unanimity can 
be detected amongst the distinguished expo¬ 
nents of this system of oblique writing. To 
begin at the beginning, Doctors differ at the 
outset, and copy-books as well as manuals of 
the art, exhibit as many angles of inclination 
as there are series in the market—nay, consid¬ 
erably more, as, occasionally, a single series 
will present a bewildering diversity of slope in 
its several books, and each angle, of course, is 
the right one! Some authors advocate 15 0 , 
others 20°, 30°, 40°, 50°, or even 6o° to 65° of 
divergence from the perpendicular; and these 
angles, with dozens of intermediate slopes, are 
daily in use. As a natural sequence, the writ¬ 
ing of the public presents the same charming 
variety of obliquity. 

Taking from a bundle of correspondence just 
arrived twenty letters, and carefully testing 
their degrees of slope, the figures came out as 
follows: 1 at 17°, 1 at 22°, 2 at 30°, 4 at 36°, 2 
at 38°, 3 at 40°, 1 at 42 0 , 3 at 43 0 , 2 at 47 0 , and 
1 at 63°, making an average inclination of 38°. 


2 




, Next, as to the Best Position of the body, the 
divergence of opinion is just as wide. Many 
acknowledged experts are now agitating for a 
straight and upright position—a posture, be it 
remarked, that necessitates for sloping writing 
a corresponding tilting of the copy-book,—whilst 
a large section of orthodox conservatives incali- 
graphy maintain the superiority of the old style, 
viz.: the left side turned towards and the right 
side turned away from the desk. Also, with 
regard to the direction of the pen, we meet with 
a like want of harmony. The pen must point 
towards the shoulder, away from 4 he shoulder, 
or otherwise, as the caprice or judgment of the 
authority may dictate. 

Here is a system of penmanship that has per¬ 
plexed the wisest heads for nearly two centuries, 
and the confusion is as great as ever; a system 
of penmanship that turns out more bad writers 
than good writers; a system that our teachers 
declare is a terribly hard system to teach, and 
our pupils protest is a “ horrid hard” system to 
learn; a system that demands from its votaries 
artificial and fatiguing attitudes and abnormal 
strains, and a system that inflicts on numbers 
of its exponents no small amount of physical 
weariness, pain, disease, and deformity (as we 
shall have demonstrated to us before the close 
of this paper). Can such a system be sound? 
Surely, if sloping writing perpetrates and per¬ 
petuates all these evils, the enemy is discovered, 
the head and front of the offending is made 
manifest. In our own mind there is no uncer¬ 
tainty. We believe, and we know, that oblique 
writing is wrong, fundamentally wrong, alto¬ 
gether wrong—that it is injurious to the writer 
and also to the reader, that it has little or nothing 
to recommend it, and much, if not everything, 
to condemn it; and that upright or vertical writ¬ 
ing is the best style of penmanship conceivable, 
and that it is superior in all and every respect 
to sloping. The object of this paper is, by a 
careful comparison of the two systems, to dis- 
plav and prove the UNQUESTIONABLE AD¬ 
VANTAGES OF UPRIGHT PENMANSHIP in 


3 


whatever aspect it may be viewed. It shall be 
our duty, then, in the following lines to thor¬ 
oughly sift the claims and merits of both styles, 
and to allow no prejudice to weaken the recog¬ 
nition and appreciation of everything in sloping 
writing, that either is, has been, or can be 
med worthy of commendation. 



1 / Is upright penmanship To be, or Not to be?— 
that’s the question. Our reply is in the affirm¬ 
ative, and it will be convenient in this exami¬ 
nation to discuss the rival systems with reference 
—ist, as to Legibility; 2d, as to Hygienic Prin¬ 
ciples and considerations as they affect the eye, 
the spine, and the wrist or hand; 3d, as to 
Speedjor rate of pen-travelling; 4th, as to Econ¬ 
omy; and 5th, as to Ease in Acquiring and 
Teaching. 


I.—LEGIBILITY. 


Which is the more legible—vertical or oblique 
writing? Enthusiasts on both sides claim the 
verdict on this point, and it would consequently 
appear to be a v question of opinion. We are 
rather inclined to think it a matter of fact, 
which no opinion can alter or modify. Would 
any of these sloping writers, who declare the 
superior or even equal legibility of their oblique 
penmanship, dare to practically test their opin¬ 
ions? Do they ever dream of having their own 
literary productions printed in italics. Imagine 
our newspapers, books and pamphlets pre¬ 
sented to us in the sloping instead of in the 
good plain old upright Roman type! Public 
opinion would condemn it, veto it and change 
it at once. Not only common sense but optics 
and geometry repudiate this assumption by 
sloping writers of equal or superior legibility, 
/^italics and sloping script cannot be read as 
easily as Roman type and vertical writing of 1 
the same size and weight. The more distinct 
and separate objects or lines are the more 
perfectly they are seen. The closer they are to 
each other the more mixed or confused they 
become. /As an illustration, which in itself is 
conclusive on this subject, we have drawn four 


4 





sets of equal length and parallel lines all from 
equidistant apices, as marked. The first set 
is vertical, the lower sets are at 30°, 45 0 


Vertical 





and 70° inclination from the perpendicular, 
respectively. If the reader, placing this or any 
similar diagram against a wall, gradually 
recedes from it he will be astonished to find the 
strokes of the upper line legible and clear, 
when those in the lower sets have merged into 
different degrees of undistinguishable haziness, 
^ow, since it is a geometrical fact that, as the 
writing slopes, so the down strokes gradually 
approach each other; and further, as it is an ac¬ 
knowledged fact that the closer the lines are the 
more illegible they become, we conclude that 
the superior legibility of the vertical is unmis¬ 
takably demonstrated, and any existing or 
lingering doubt finally disposed of. 

There really can be no uncertainty in the 
matter. It is like proving an axiomatic 
truth. Vertical writing has only to be seen to 


5 









be accorded the highest award for legibility. It 
is pre-eminently THE MOST READABLE 
WRITING THAT CAN BE PRODUCED. 

II.—HYGIENIC PRINCIPLES. 

These hygienic considerations are of para¬ 
mount significance, and cannot, dare not. be 
ignored by true educationists. In writing for 
any length of time, uninterruptedly, there are 
certain parts of the body that exhibit signs 
of fatigue and symptoms of pain—viz., the 
eye, hand, chest and spine. So severely, 
indeed, are those limbs and parts fre¬ 
quently affected that the seriousness of the 
evils has induced the highest authorities to take 
cognizance of the matter, and not only Teach¬ 
ers, but School Boards and Governments, have 
instituted formal investigations for the purpose 
of discovering a remedy. V- As though to give 
the strongest emphasis to hygienic demands, 
medical men have initiated and pursued their 
researches quite independently of educators and 
teachers. Their opinions and deductions not 
only agree in the main, they coincide entirely; 
and it is the conviction and opinion of these 
specialists that sloping writing is essentially 
bad, since it inflicts upon its adherents all the 
injury to eye, hand, chest and spine that a 
pernicious system is able to exert. How often 
premature blindness, the deformed hand, the 
round shoulders and the curved spine are 
induced amongst those who write for long hours 
none but medical men have any means of ascer¬ 
taining, but the catalogue is a sad one; and 
even where these alarming consequences do not 
ensue, how much more frequently do aching 
backs, stiffened fingers and weary eyes remind 
us that the way of sloping writers is hard. 
That oblique caligraphy is answerable for a 
lamentably large amount of ill that might be 
avoided goes without saying, but eminent 
doctors have still thought it both necessary and 
wise to assert it, and to assert it repeatedly a^d 
emphatically. Mr. Noble Smith, F.R.CS,, 


6 





who is considered one of the first authorities on 
I spinal curvature, speaks with no uncertain 
I sound on the detrimental effects of oblique 
> writing. His extensive hospital and other prac- 
r tice, his profound study and his intimate ac- 
| quaintance with school hygiene (especially with 
reference to postures), invest his utterances with 
i almost oracular vividness and seriousness. After 
making an official and formal survey of, and 
inquiry into the question of “Postures in Writ¬ 
ing,” he is only the more confirmed, if that were 
possible, in his previously expressed convic¬ 
tions. He declares in various works and pub¬ 
licly, that 

‘ ‘ The postures of young people assumed in 
the sloping writing are one of the chief fac¬ 
tors in the production of spinal curvature; 
and although good seats and desks are a 
great help in securing a better position, it is 
impossible for writers to avoid twisting the 
spine unless they adopt an upright style of 
caligraphy. Vertical writing is consistent 
with all hygienic principles.” 

Similarly, distinguished medical men, both 
in Germany and England, advance concurrent 
testimony equally weighty. The well-known 
Drs. Berlin and Remboldt, who made an 
exhaustive inquiry into the effects of hand¬ 
writing upon eyesight and spinal malformation 
for the Wurtemberg Government, show con¬ 
clusively that the sloping style causes the head 
to hang over, so that in some cases the spine is 
curved, and in most cases the writer soon grows 
weary. In numerous instances the eyes also 
are injured where those organs are not naturally 
strong, or where a large amount of writing has 
to be executed. 

Allowing, then, and taking into account that 
vertical writing requires no twist of the spine, 
no cramping of the hand, no compressing of 
the chest, no unequal strain upon the eyes, 
what an unanswerable argument is afforded 
for its adoption ! 



TEACHERS WHO RECOGNIZE THE 
GRAVITY OF THE SITUATION WILL NOT 
LIGHTLY EVADE THE OBLIGATION, BUT 
WILL CONSCIENTIOUSLY ENDEAVOR TO 
SATISFY THEMSELVES AS TO THE 
ACTUAL FACTS. AND THEN FOLLOW 
THE DICTATES OF THEIR JUDGMENT. 
We submit that any system of penmanship 
which is chargeable with, and responsible for, a 
tithe of the evils which teachers and medical 
men alike have ascribed to sloping writing, is 
entirely unworthy the support or countenance 
of those whose duty it is to teach their scholars 
nothing but the Best, the Truest, and Most 
Useful in all branches of their instruction. 

We are not alarmists; we do nc^ desire to 
exaggerate the danger, but we wolF A remark 
here by how much is the offence aggravated 
and intensified when all these attendant and 
numerous ill effects are invited, risked, and in¬ 
curred, not to secure a positive benefit or good, 
not to obtain a style of writing admittedly 
superior to all others, not to compass the largest 
percentage of good writers, but to impose upon 
an already overtaxed humanity an illegible, in¬ 
ferior, and imperfect style of writing, in which 
we constantly find 30 per cent, positively and 
hopelessly undecipherable, some 50 per cent, 
medium and tolerably fair, with a small margin 
of 20 peiyCent. really good and elegant in 
quality, nn the Upright Penmanship none of 
these violations of hygienic or physiological 
canons are found, for none are really possible. 
The writer sits straight before his desk, both 
arms freely thrown thereon, the pen held 
naturally between the thumb and two fore¬ 
fingers, pointing in the direction of the hand 
and arm. y As in reporting and as in drawing, so 
in vertical writing, the posture is the most 
natural and simple that could be prescribed, 
and therefore the strain both upon the muscles 
and upon the nerves is the least that could be 
exacted for the efficient performance of the 
work to be done. The eye looks straight down 
upon its task, the hand and wrist are in the best 


pose for a running handwriting, the body itself 
is not in the least distressed by artificial atti¬ 
tudes, the spine rests in a perfectly normal con¬ 
dition, the chest remains unrestrained by any 
undue leaning forward, and writing is produced 
under the most favorable conditions, with the 
least expenditure of energy, and therefore with 
the minimum amount of weariness and fatigue. 

he evidence of experts both in teaching and 
medicine is all in favor of the vertical penman; 
we may therefore look upon sloping writing as 
already doomed, if it is to be judged on grounds 
of a purely hygienic character. 

III.—SPEED OR RATE OF PEN-TRAVEL¬ 
LING. 

Several considerations enter into the discus¬ 
sion on speed, and each of them is adverse to 
sloping penmanship. The section we have just 
been studying will help us heie wonderfully. 
Position has much to say in this matter of speed. 
A free and easy position must be more favor¬ 
able to, and also must ensure, a higher rate 
than a stiff and constrained posture. If it can 
be—and we think it has been—shown that the 
attitude in vertical writing is natural and free, 
whilst in sloping writing it is twisted and awk¬ 
ward, the question of relative speed is settled at 
once and forever. The advantages which a 
free and easy posture confer on a writer must 
guarantee a higher rate of speed. i/The sloping 
writer is necessarily and heavily nandicapped, 
and hopelessly struggles into the goal a very 
bad second. Moreover, it will be found on trial 
that the strokes which a vertical writer makes 
in his movements with the pen are in them¬ 
selves easier than the forward-pushing stroke 
of the sloping style. The upward forward 
stroke of the oblique writer encounters more 
opposition from the paper, and is, consequently, 
much harder to make than are the side strokes 
peculiar to an upright system, in which there 
is necessarily less tendency to spluttering, and 
the lines are made with greater ease, and there¬ 
fore with greater speed. Once more, after care- 


9 






ful calculations, it is found that the ordinary]] 
sloping writing necessitates the pen travelling 
over 25 per cent, more length of outline than 
vertical writing of the same size, and accord- j 
ingly occupies 25 per cent, more time. 

Now, unless the advocates of obliquity can j 
prove it possible to accomplish 100 units of 
work in the same or a less time than 80 units 
require, it is patent that Upright Penmanship ; 
must be more rapid than sloping. It is simply 
impossible to make a line 5 inches long in as 
short a time as we can make a line only 4 inches 
long. But what an appalling fact confronts us 
if this be true! 

Nearly one-quarter of all the writing power 
in the country going to waste! Let us but con¬ 
template the truth that 1 hour out of every 5, j 
8 out of every 40 (about a week’s work) can be, 1 
ought to be, saved, and there will be no inde¬ 
cision as to the comparative merits of the two 1 
systems. Vertical writing can be much more 
easily and quickly produced than sloping, and 
it is therefore superior to it in point of speed. 
t^The receivers in the telegraph offices write 
vertically because they must write rapidly, 
plainly, and the position assumed must be that 
producing the least fatigue. 

“ I have written millions of words under the pressure of 
rapid telegraphic transmission and have always found this 
style the easiest and most comfortable.”—A. E. Sink, Man¬ 
ager Gen’l Oper. Dep’t, W. U. Tel. Co., 195'B’dw’y, N. Y. 

IV.—ECONOMY IN SPACE, Etc. 

*4$* have just proved the superiority of verti- A 
cal writing where economy of time is con- | 
cerned—a word or two as to economy in space. / 

Since vertical writing speaks for itself, we 
need not linger long on this division of 
our subject. The sprawling, straggling 
scrawl so common in the oblique styles 
becomes compact, and characteristic—full of 
individuality—in the upright. Let any one 
try the experiment for himself. After re¬ 
peated comparison of copy-book headlines, it 
is found that for the same or similar sized writ- 


10 



ing the vertical will yield from 30 to6o percent, 
more matter in the same space-length. Several 
books were tested page by page and line by line, 
with the surprising disclosure that where a slop¬ 
ing copy yielded 25 or 30, a vertical line would 
furnish between 40 and 50 letters. 

Then as to economy in ordinary correspond¬ 
ence, what student, lawyer, clergyman, mer¬ 
chant, clerk, has not resorted to the vertical style 
times without number when wishing to compress 
his writing into small space? ‘The truth is that 
sloping induces sprawling, whilst the upright 
demands contraction. As an independent test 
let any one take specimen (not selected) letters 
from a batch of correspondence, and count the 
average words or letters in an equal number of 
lines of equal-sized writing in each, the result 
will average about 123 sloping to 177 vertical, 
or as 100 to 144, and the upright caligraphy is 
f more legible. 



/ There can be no doubt as to the economy of 
space effected by the new style; indeed its strong¬ 
est opponents have, almost without exception, 
conceded this advantage. To all sections of 
the community such an economy is of great 
value. 

V.—EASE IN TEACHING. 

We now approach the last, and perhaps the 
most interesting part of our discussion, and our 
arena is the schoolroom. How do the several 
styles affect the teacher and his pupils? After 
numerous conversations with individual and 
large bodies of teachers,the one great complaint 
with them is the insuperable difficulty in teach¬ 
ing sloping writing. First, there is the peculiar 
position of the body, sideways to the desk; 
next, there is the position of the arms, one on 
the desk and the other close in by the side; 
then the hand must be twisted outwards, the 
pen must point towards and over the right 
shoulder ; and when all this is obtained (when is 
it obtained? I would ask) the next task—and it 
generally proves in evpry sense a cruel task— 
is to get the writing ar^nged, the angle deter- 


11 




mined, and the angle observed. Is it not a 
notorious fact that hundreds and thousands of 
children will write vertically, whether their 
teachers sanction it or no? Is it not true that 
pupils will tilt up their books to an angle suffi¬ 
cient to give verticality (optically considered) to 
the down strokes, and will hold the pen as ver¬ 
tical writers hold it (pointing outwards), not¬ 
withstanding the reiterated remonstrances of 
their teachers? A pupil is restless, and changes 
his posture or angular inclination to the desk, 
his copy-book records the incident where a 
painfully obvious break in the parallelism 
shocks the teacher’s eye; he tilts his book or 
st aightens it again at his own or the teacher’s 
desire, and the obliquity of his writing varies 
most faithfully in consequence. In vertical 
writing none of these difficulties and anomalies 
irritate the teacher; none of these absurdities 
vex the puny bodies and the souls of our chil¬ 
dren. There is no posture of the body to incul¬ 
cate or attain, for every girl and boy will 
naturally assume the right posture; there is 
nothing to do with regard to the pen except to 
restrain it from falling into a wrong direction, 
certainly there is no care demanded to train it 
into quite an awkward and constrained direc¬ 
tion. The book lies evenly on the desk, the 
writer sits evenly at the desk, the pen follows 
the direction of the hand and arm that guide it, 
and the writing always observes the one posi¬ 
tion of the perpendicular, for there is only one 
vertical to a horizontal, whereas there are 
hundreds of degrees of slope between o° and qo Q . 
The difficulties of the teacher and of the pupil 
are reduced to a minimum, and, so far as it 
can be, writing and the teaching of writing are 
pleasant factors in the ordinary school-life. It 
may confidently be concluded that the burden 
thus lifted from the shoulder of our instructors 
and our children is no small consideration, and 
that from an educational standpoint, such an 
argument should be ; sufficient to command the 
adoption of Upright Penmanship in every 
school throughout th^tvorld. 


12 


ji In conclusion, there are many things in this 
I paper that might have received more elaborate 
treatment; there are many other items, and 
somewhat important items, too, which we have 
not hinted at (one, e.g., is the saving of expense 
both in schools and business by the economy 
gained in vertical writing). Nevertheless, IF 
VERTICAL WRITING IS FAR MORE LEGI¬ 
BLE, FAR MORE HEALTHY, FAR MORE 
ECONOMICAL, FAR MORE SPEEDY, AND 
FAR MORE EASILY ACQUIRED AND 
TAUGHT, what excusecan any longer be urged 
for the continuance of sloping writing? What 
excuse can be offered for not at once introduc¬ 
ing Upright Penmanship as the universal and 
only system of writing to be taught, practiced, 
and encouraged throughout the country? Pre¬ 
judice and custom are everywhere giving way 
in face of the marvelous success which so 
invariably follows upon the introduction of the 
New Style Vertical Writing. On ali hands, 
indeed, from Principals of Public Colleges down 
to Teachers of Elementary Schools, it is gener¬ 
ally conceded that Upright Penmanship has 
produced better results in a few years than 
the Sloping Writing has ever reached in as 
many centuries. IN SHORT, ALL EXPERI¬ 
ENCE PROVES WHAT AN EMINENT 
EDUCATIONIST HAS RECENTLY STATED, 
VIZ., THAT VERTICAL WRITING HAS 
ONLY TO BE TRIED TO BE ENTHUSIAS¬ 
TICALLY ADOPTED AND PERMANENTLY 
EMPLOYED. 



In making his series of copy books Mr. Jack- 
son has based his headlines upon what has been 
found, after many years practice in teaching the 
Vertical Penmanship in schools, to be thor¬ 
oughly practical and possible to be obtained by 
children. He has for this reason reproduced as 
nearly as possible actual pen writing rather than 
the finely executed hair lines of the engraver , which, 
it is universally conceded, discourage. the pu- 
pils—and such discouragement is a serious im- 


13 




pediment to successful teaching. As a proof of 
the practical result it is found that the hand¬ 
writing obtained from his teaching is almost 
precisely similar to that used by the most rapid 
and best writers in the Western Union Telegraph 
service—a hand that they have acquired as the 
most rapid , most distinct and least tiring; many of 
them write in this way at the rate of from 30 to 40 
words a minute for hours at a time. This hand 
is condemned by the theorists who fail to recognize 
that the practical rather than the theoretical is 
what our children need. This emphasis of the 
theoretical at the expense of the practical has led 
and will no doubt lead to the imposition upon 
the children of impossible ideals, in the shape of 
“beautifully engraved” models. Mr. Jackson 
prefers to be criticised, as using “heavy,ir¬ 
regular, ungraceful and altogether undesirable 
forms,” by competing publishers, rather than to 
lose the satisfaction of seeing the improvement 
that his system has made and is making in the 
children’s work, and he is quite willing to let 
results speak for themselves. 

In arranging the series of Vertical Penman¬ 
ship Pads some means of obviating that old 
difficulty, the copying of the pupils’ own copy 
rather than the headline, is aimed at. It is be¬ 
lieved that this can be successfully obtained by 
having the pupil write first one, then the next 
headline, on the same page, rather than by con¬ 
stantly telling him not to follow his own written 
copy. The possible unlimited review will be 
helpful in many other ways that will suggest 
themselves to teachers. Pads will be furnished 
with the copy slips fastened at one end or loose, 
as may be desired. 


14 










THE 


CYCLAUTOGRAPH. 

This machine is the invention of some 
schoolmen who have had occasion for 
many years to use many copies of written 
work of various kinds, and have tried for 
this, purpose the various machines in the 
market, such as the Mimeograph, Simplex, 
Hektograph, Cyclostyle, but without sat¬ 
isfactory results; - for, while some of them 
yielded the number of copies wanted, the 
trouble in preparation of the printers’ ink 
was so great that the machine could not 
be used. The various forms of the Hek¬ 
tograph or gelatine process were fairly 
good, though the hand rubbing and care 
I necessary to yield good, perfect copies, 
made it slow work obtaining a number of 
copies. Finally they experimented upon 
methods of adapting the gelatine process 
to a cylinder, and the result is the Cyclau- 
tograph, which has been successfully used 
for over a year. To use it the copy is 
written, as in the Hektographic process, 
with a specially prepared ink, with an or¬ 
dinary pen on writing paper. By placing 
this copy on the copy sheet for one or two 
minutes the transfer is made; the copy 
sheet is then adjusted to the cylinder and 
| the copies made by passing the paper 
I through between this and the pressure 
roller, which gives an even, uniform press- 
| ure, yielding perfect copies. There is an 
adjustment for use of roll paper, which is 





printed upon as it is wound up, through the 
machine; the action is absolutely contin¬ 
uous, and from 40 TO 100 COPIES CAN 
BE OBTAINED IN ONE MINUTE 
without trouble. There is no cleaning up 
necessary, the gelatine used, absorbs the 
ink from the surface in a few hours. 

Since the operation of the Cyclautograph 
has proved so simple, rapid and satisfac¬ 
tory, the possible uses, especially for the 
live teacher, have greatly multiplied. The 
interest and effectiveness of school work 
may be vastly increased. Besides the evi¬ 
dent adaptability to obtaining speedy re¬ 
productions of examination papers, sug¬ 
gestive synopses, topical work, diagrams,; 
outline maps, etc., the machine has been 
found most available for securing a REAL 
SCHOOL PAPER. Every school can 
now have at small cost its own paper, com¬ 
posed and “printed” and bound entirely 
by the pupils themselves. In a nearby city 
school an edition of sixty-five copies, of 
more than twenty pages each, was recently 
put together by four of the boys in less than 
four hours. As a result of seeing all their 
own work reproduced in facsimile, an im¬ 
mense stimulus has been added to the 
effort to improve penmanship and to com¬ 
pose acceptably. 

Samples of work sent upon request. 

OFFICE OF THE 

' V- r • ' . y— • . , y 

“ CYCLAUTOGRAPH,” 

59 Fifth Ave., N. V. City. 

.. 





RELIEF MAPS. 

By Dr. L. R. KLEMM. 

Bureau of Education, Washington, D. C. 


A series of practice maps in carefully made 
relief—^printed in blank, to be filled in by the 
pupils. 


Price per 100 , 



The same, with an erasable surface: 

Price per 100 ... ..$ 10.00 to $ 15.00 


Europe, Asia, Africa, North America, South 
America, United States. 


POCKET PEDAGOGICAL LIBRARY. 

No. 1 . Education in its Physical Rela¬ 
tions. By Inspector Jolly.... £.5 cts. 
“ 2 . Dr. Javal’s Physiology of Hand¬ 

writing (from the French).... 25 “ 
B. Upright vs. Sloping Writing. ... 10 “ 


“ONE PIECE” BOOK COVERS. 

Strong manilla paper, adjustable to any sized 
book without cutting. Special size for River¬ 
side Literature Series and paper-covered books. 
IThis is the only cover suitable for and adjustable 
to paper-covered books. Send for circulars. 






- ^ i c 6 _ 

2 ' 2 ’ 

In 8 Numbers, 96 cents per dozen. 


H.arison’s Vertical . . 

. . Penmanship Pads 



(Patent applied for.) 




The purpose of these pads is to enable the teacher,:, 
to give as much practice as may be deemed necessara 
with any particular set copy, the pupil writing one]! 
two or more sheets, if it is thought advisable to dcp 
so, before exposing a new model. It is advisable* 
also, to avoid the discouragement, incident to failure* 
By the use of these pads failures may be removed* 
and a new copy sheet used, or several of them, un,ti® 
it is deemed advisable tp proceed to the next step* 
Pads will be made to order in any of the different! 
rulings that may be desired ; when not otherwise 
ordered, the double guide lines will be furnished or* 
the first numbers of the series only, single ruling or* 
the higher numbers^-the “finishing” numbers to be! 
on unruled pads. * 

The copies are compiled from the JACKSONf 

system for the reason that it is considered well to|j 
follow what has been found best after many years?! 
experience. J 

The position considered best is that assumed ir$ 
drawing, viz:—With the body straight before the|j 
desk, the copy slightly to the right and set squarely^ 
before the pupil, the pen held so that both points ofl 
the nib are in constant action, the pen handle inclined! 
slightly away from the direction of the shoulder. 3 


WILLIAM BEVERLEY HARISON, 

59 Fifth Avenue, N. Y. City. j 
SCHOOL BOOKS SCHOOL SUPPLIES-’ 

OF ALL PUBLISHERS. OF ALL KINDS. 

“One Piece ” Patent Adjustable School Book Covers. \ 































































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